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Academic literature on the topic 'Musical ability Victoria Testing'

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Published: 10 December 2022
Last updated: 29 January 2023

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Journal articles on the topic "Musical ability Victoria Testing"

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Treichler, F. Robert. "Testing musical ability." History of the Human Sciences 26, no. 5 (December 2013): 48–68. http://dx.doi.org/10.1177/0952695113508121.

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Heaton, Pamela, Beate Hermelin, and Linda Pring. "Autism and Pitch Processing: A Precursor for Savant Musical Ability?" Music Perception 15, no. 3 (1998): 291–305. http://dx.doi.org/10.2307/40285769.

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Musically naive autistic children were compared with musically naive mental age-matched control subjects for their ability to identify and remember single-note frequencies or speech sounds. As an analogy to testing for absolute pitch, subjects were asked after two different time intervals to point out animal pictures previously paired with these stimuli. The results showed that although both groups identified and recalled speech sounds equally well, those with autism demonstrated a superior ability for single-note identification over both time intervals. The findings are discussed in terms of an enhanced capacity, characteristic of autistic persons, to process and retain isolated, context-independent elements of stimulus arrays.
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Herget, Ann-Kristin, Holger Schramm, and Priska Breves. "Development and testing of an instrument to determine Musical Fit in audio–visual advertising." Musicae Scientiae 22, no. 3 (October 5, 2017): 362–76. http://dx.doi.org/10.1177/1029864917731127.

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Over the past three decades, several studies have explored the concept of Musical Fit in audio–visual advertising. However, a central problem is the inconsistency of the results derived from these studies. The current level of knowledge does not make it possible to safely predict whether and how Musical Fit influences recipients’ attention, brand and product recall, and positive attitudes toward commercials, including purchase intentions. One origin of this problem is the lack of a coherent definition and operationalization of Musical Fit. Therefore, this article describes the development of a transparent and applicable instrument to identify and determine Musical Fit in audio–visual advertising. Starting from music’s function of transporting and inducing emotions and its ability to communicate referential meaning, we designed a classification system for relating music to the three most important reference points of a commercial: the narration, the product, and/or the target group. Accordingly, Single, Double, and Perfect Musical Fit can be distinguished and classified into different types. To test whether the developed instrument is applicable in practice, we conducted a quantitative content analysis of 594 German TV commercials. After two pilot tests, the inter-coder reliability of two different coders improved to an average of .80, providing an indication of the instrument’s practicability. Surprisingly, the most common Musical Fit types were a Single Fit to Narration (50%), a matching largely unaddressed in studies to date, a Double Fit to Narration and Product (21%), and a Perfect Fit (15%), the type that is most difficult to create.
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Sarkar, Joyanta, and Anil Rai. "Music to My Ear: Will Be Able to Recognize the Musical Notes Better When Using Only the Left Ear?" Studia Universitatis Babeş-Bolyai Musica 66, no. 1 (June 30, 2021): 217–26. http://dx.doi.org/10.24193/subbmusica.2021.1.14.

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"Tone deafness refers to a condition where a person is unable to distinguish between different musical notes. Afflicted persons are not able to recognize the difference when 2 different musical notes are played. This inability is not caused by a lack of musical knowledge or training but is instead caused by genetic inheritance or brain damage. Tone deafness is a disability that is shown in music only. People who are tone deaf do not have a problem in recognizing the different intonations in human speech. This disability is also associated with the inability to follow musical rhythms and recognize songs. In this paper, we propose the ability of participants to recognize and repeat the musical notes that they hear. Testing was done using only the left ear, only the right ear, and both ears. Keywords: Music, Tone Deaf, Genetic Inheritance, Intonation. "
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Burns, Phoebe A. "Testing the decline of the New Holland mouse (Pseudomys novaehollandiae) in Victoria." Australian Mammalogy 42, no. 2 (2020): 185. http://dx.doi.org/10.1071/am19006.

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Many Australian rodent species have become extinct or undergone substantial range contractions since European invasion. Limited and haphazard survey efforts across much of Australia mean we are unsure of many species’ current and former ranges, hampering our ability to identify and remedy causes of decline. The New Holland Mouse (NHM; Pseudomys novaehollandiae) is an endangered rodent species native to south-east Australia that is suspected of undergoing rapid and dramatic range contractions and local extinctions in recent decades. Here, I reassess the species’ distribution across Victoria using extensive survey efforts and, subsequently, provide a summation of potential key threatening processes. In only 40 years, the NHM has been lost from seven of the 12 isolated areas where it once occurred in Victoria. Habitat loss and fragmentation, invasive predators, and potentially disease and genetic inbreeding have likely contributed to the species’ rapid and continuing decline. Conservation priorities include ongoing monitoring and research, cat and fox control, exclusion of rabbit poison-baiting, targeted fire and habitat management, and reintroduction to historically occupied regions where threatening processes have been mitigated.
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Siedenburg, Kai, Saskia Röttges, Kirsten C. Wagener, and Volker Hohmann. "Can You Hear Out the Melody? Testing Musical Scene Perception in Young Normal-Hearing and Older Hearing-Impaired Listeners." Trends in Hearing 24 (January 2020): 233121652094582. http://dx.doi.org/10.1177/2331216520945826.

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It is well known that hearing loss compromises auditory scene analysis abilities, as is usually manifested in difficulties of understanding speech in noise. Remarkably little is known about auditory scene analysis of hearing-impaired (HI) listeners when it comes to musical sounds. Specifically, it is unclear to which extent HI listeners are able to hear out a melody or an instrument from a musical mixture. Here, we tested a group of younger normal-hearing (yNH) and older HI (oHI) listeners with moderate hearing loss in their ability to match short melodies and instruments presented as part of mixtures. Four-tone sequences were used in conjunction with a simple musical accompaniment that acted as a masker (cello/piano dyads or spectrally matched noise). In each trial, a signal-masker mixture was presented, followed by two different versions of the signal alone. Listeners indicated which signal version was part of the mixture. Signal versions differed either in terms of the sequential order of the pitch sequence or in terms of timbre (flute vs. trumpet). Signal-to-masker thresholds were measured by varying the signal presentation level in an adaptive two-down/one-up procedure. We observed that thresholds of oHI listeners were elevated by on average 10 dB compared with that of yNH listeners. In contrast to yNH listeners, oHI listeners did not show evidence of listening in dips of the masker. Musical training of participants was associated with a lowering of thresholds. These results may indicate detrimental effects of hearing loss on central aspects of musical scene perception.
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Lee, Harin, and Daniel Müllensiefen. "The Timbre Perception Test (TPT): A new interactive musical assessment tool to measure timbre perception ability." Attention, Perception, & Psychophysics 82, no. 7 (June 11, 2020): 3658–75. http://dx.doi.org/10.3758/s13414-020-02058-3.

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Abstract To date, tests that measure individual differences in the ability to perceive musical timbre are scarce in the published literature. The lack of such tool limits research on how timbre, a primary attribute of sound, is perceived and processed among individuals. The current paper describes the development of the Timbre Perception Test (TPT), in which participants use a slider to reproduce heard auditory stimuli that vary along three important dimensions of timbre: envelope, spectral flux, and spectral centroid. With a sample of 95 participants, the TPT was calibrated and validated against measures of related abilities and examined for its reliability. The results indicate that a short-version (8 minutes) of the TPT has good explanatory support from a factor analysis model, acceptable internal reliability (α = .69, ωt = .70), good test–retest reliability (r = .79) and substantial correlations with self-reported general musical sophistication (ρ = .63) and pitch discrimination (ρ = .56), as well as somewhat lower correlations with duration discrimination (ρ = .27), and musical instrument discrimination abilities (ρ = .33). Overall, the TPT represents a robust tool to measure an individual’s timbre perception ability. Furthermore, the use of sliders to perform a reproductive task has shown to be an effective approach in threshold testing. The current version of the TPT is openly available for research purposes.
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Wong, Yetta Kwailing, Cynthia Peng, Kristyn N. Fratus, Geoffrey F. Woodman, and Isabel Gauthier. "Perceptual Expertise and Top–Down Expectation of Musical Notation Engages the Primary Visual Cortex." Journal of Cognitive Neuroscience 26, no. 8 (August 2014): 1629–43. http://dx.doi.org/10.1162/jocn_a_00616.

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Most theories of visual processing propose that object recognition is achieved in higher visual cortex. However, we show that category selectivity for musical notation can be observed in the first ERP component called the C1 (measured 40–60 msec after stimulus onset) with music-reading expertise. Moreover, the C1 note selectivity was observed only when the stimulus category was blocked but not when the stimulus category was randomized. Under blocking, the C1 activity for notes predicted individual music-reading ability, and behavioral judgments of musical stimuli reflected music-reading skill. Our results challenge current theories of object recognition, indicating that the primary visual cortex can be selective for musical notation within the initial feedforward sweep of activity with perceptual expertise and with a testing context that is consistent with the expertise training, such as blocking the stimulus category for music reading.
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Macoir, Joël, Marie-Pier Tremblay, Maximiliano A. Wilson, Robert Laforce, and Carol Hudon. "The Importance of Being Familiar: The Role of Semantic Knowledge in the Activation of Emotions and Factual Knowledge from Music in the Semantic Variant of Primary Progressive Aphasia." Journal of Alzheimer's Disease 85, no. 1 (January 4, 2022): 115–28. http://dx.doi.org/10.3233/jad-215083.

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Background: The role of semantic knowledge in emotion recognition remains poorly understood. The semantic variant of primary progressive aphasia (svPPA) is a degenerative disorder characterized by progressive loss of semantic knowledge, while other cognitive abilities remain spared, at least in the early stages of the disease. The syndrome is therefore a reliable clinical model of semantic impairment allowing for testing the propositions made in theoretical models of emotion recognition. Objective: The main goal of this study was to investigate the role of semantic memory in the recognition of basic emotions conveyed by music in individuals with svPPA. Methods: The performance of 9 individuals with svPPA was compared to that of 32 control participants in tasks designed to investigate the ability: a) to differentiate between familiar and non-familiar musical excerpts, b) to associate semantic concepts to musical excerpts, and c) to recognize basic emotions conveyed by music. Results: Results revealed that individuals with svPPA showed preserved abilities to recognize familiar musical excerpts but impaired performance on the two other tasks. Moreover, recognition of basic emotions and association of musical excerpts with semantic concepts was significantly better for familiar than non-familiar musical excerpts in participants with svPPA. Conclusion: Results of this study have important implications for theoretical models of emotion recognition and music processing. They suggest that impairment of semantic memory in svPPA affects both the activation of emotions and factual knowledge from music and that this impairment is modulated by familiarity with musical tunes.
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DELLACHERIE, DELPHINE, NATHALIE EHRLÉÉ, and SÉÉVERINE SAMSON. "IS THE NEUTRAL CONDITION RELEVANT TO STUDY MUSICAL EMOTION IN PATIENTS?" Music Perception 25, no. 4 (April 1, 2008): 285–94. http://dx.doi.org/10.1525/mp.2008.25.4.285.

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STUDIES CARRIED OUT IN NONMUSICAL DOMAINS provide evidence that abnormal responses to emotionally neutral stimuli are associated with medial temporal lobe (MTL) dysfunction at the level of the amygdala. In this investigation,we propose that music will be an adequate candidate to examine the role of MTL structures in judging emotional neutrality. By testing 43 patients with temporal lobe lesions and 19 controls in a task involving classification of neutral, happy, sad, and distressing music, we found that the identification of neutral stimuli was selectively impaired in patients with MTL dysfunction. This finding suggests the implication of the amygdala in classifying emotionally neutral stimuli, supporting previous neuroimaging studies.We discuss the present data in relation to facial expressions and present an intriguing case of affective disturbance resulting from a head injury to emphasize the relevance of using music to assess the ability to detect neutrality in neurological and psychiatric patients.
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Dissertations / Theses on the topic "Musical ability Victoria Testing"

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Gudmundsdottir, Helga Rut. "Children's ability to identify two simultaneous melodies." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26735.

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The present study examined 1st, 3rd, and 5th graders' ability to hear two simultaneous melodies. Two familiar ("Frere Jacques" and "The Barney song") and one unfamiliar melody were used as the stimuli. The pairs of simultaneous melodies were presented in different registers and timbre combinations. The children were asked to press specially labeled keys on a computer keyboard to indicate which song(s) they heard. Responses were recorded by a computer. The older children identified two simultaneous melodies faster (df = 2, F = 12.803, p $<$.01) and more accurately (df = 2, F = 13.098, p $<$.01) than the younger ones. While 70% of the 1st graders reported hearing two melodies and identified them with 75% accuracy, over 95% of the 5th graders reported hearing two melodies and identified them with 97% accuracy. Children who were able to correctly identify two simultaneous melodies did not tend to identify the melody in the upper or the lower register in any particular order when the timbre was the same in both registers. When the melodies were played with contrasting timbres (trumpet and piano) they tended to identify the trumpet melody before they identified the piano melody. However, in terms of response-speed they identified the upper melody faster than the lower melody. Children who were only able to identify one melody tended to focus on the upper melody when the timbre was the same in both registers but when the melodies were played with contrasting timbres they would attend to the trumpet melody regardless of register.
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Gratton, Martine. "The effect of three vocal models on uncertain singers' ability to match and discriminate pitches /." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59242.

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The purpose of this study was to investigate the effect of three different vocal timbres on uncertain singers' ability to match and discriminate pitches. Fifty-six children between six and eight year old were randomly assigned to one of four groups.
In the Own Voices group, subjects were training in pitch matching using subjects' own voices. They trained in pitch discrimination using a model child voice as stimuli. In the Model Child group, subjects were training in pitch matching and pitch discrimination using a model child voice of the same sex and age as that of the subject. Subjects in the Female Adult group were training in pitch matching and pitch discrimination using a female adult voice as stimuli. Subjects in the control group had no training.
It was found that timbre affected uncertain singers' ability to match and discriminate pitches. Pitch matching to one's own voice was more accurate than pitch matching to a child's voice.
The discrimination of high and low pitches was more accurate when a model child's voice was used than when an adult voice was used.
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Descombes, Valérie. "Discrimination of pitch direction : a developmental study." Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=30159.

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The purpose of this study was to determine whether the ability to perceive pitch direction across a variety of melodic contours differs across grade levels. In addition, differences between responses to ascending versus descending patterns and between responses to two- versus three- versus four-note patterns were examined.
The main study involved two experiments; Experiment 1 examined children's ability to identify pitch direction using a visual aid; Experiment 2 examined children's spontaneous notations of the same melodic contours.
The results showed a subsequent increase in mean scores from grades 1 to 6 across both tests. The clearest increase in ability occurred within the first three grades with a plateau reached by grade four. Same-pitch patterns received the highest overall means. The ability to identify direction using a visual aid was easier for children than to write spontaneous notations. Melodic contours with larger intervals were more easily perceived.
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Ollen, Joy E. "A criterion-related validity test of selected indicators of musical sophistication using expert ratings." Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1161705351.

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Moreno, Sala María Teresa. "The influence of perceptual shift, cognitive abilities and environmental factors on young children's development of absolute and relative pitch perception /." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=85941.

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The main purpose of the present study was to investigate whether a shift from absolute to relative pitch perception occurs during early childhood. Other factors that can influence the development of absolute pitch, such as cognitive abilities and the child's environment were examined. Young children completed (n=88): (1) a variety of pitch tasks (absolute and relative pitch tests) prior to and after two months of focused instruction on absolute and relative pitch, (2) tests of cognitive abilities, and (3) a questionnaire gathering information about family musical environment.
The results indicate that a shift from absolute to relative perception occurs between the ages of 5 and 7. Children younger than six demonstrated limited ability to perform relational tasks such as ordering bells, identifying transposed intervals, and comparing pitches. However, they memorized target pitches better than the older children, matched target tones on the xylophone and sang newly learned songs in their original key more often than did the older children. Older children benefited to a larger extent from the training on relative pitch. Cognitive and spatial abilities were related to absolute pitch development: children who identified pitches better had a more sequential and a less simultaneous way of processing information. Family musical environment seems to have influenced the development of absolute pitch. Implications for the acquisition of absolute pitch are discussed.
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Dorothy, Wayne F. "Relationships between ensemble placement, musical independence, gender, and instrument family, among band students at three regional universities." Virtual Press, 1996. http://liblink.bsu.edu/uhtbin/catkey/1019475.

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Little is known about post-secondary band students' growth in musical independence, nor have the relationships between ensemble placement, year in school, gender, and instrument family been documented. Little research is available regarding the effects of instrument family (on which the student performs) or gender on the development of musical independence among music majors. Additionally, previous studies have identified a drop in music achievement test scores for college music majors as they progress from their freshman to sophomore or sophomore to junior years. This study attempts to address and evaluate these issues.The introduction presents a brief overview of the purpose and importance of the study. The review of related literature explores musical independence and the assessment of musical independence, as well as relationships between musical independence, ensemble placement, related listening skills, gender, and instrument family.Richard Colwell's Music Achievement Test 3 and Music Achievement Test 4 were administered to 354 band students at Ball State University, Florida State University, and Wichita State University. Test scores and demographic data including school, student identification number (usually a social security number), top ensemble in which the student participated (1st, 2nd, or 3rd), college major (music major or non-music major), year in school (freshman through graduate student), gender (male or female), and instrument family (woodwind, brass, or percussion) were collected. Data was entered into Statview II, a statistical analysis program for the Macintosh computer. Data was analyzed using ANOVA, Scheffe, and permutation analysis. Conclusions were drawn and recommendations for additional research were made.
School of Music
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May, Brack M. (Brack Miles). "An Investigation into the Stability of Students' Timbre Preferences from the Sixth through the Tenth Grade." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc277703/.

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The purpose of the study was to determine whether students' timbre preferences in the sixth grade remain stable through the tenth grade. The investigation also examined whether gender, band instruction, or musical home environment makes any difference in influencing the stability of students' timbre preferences from grade six through ten. Students' timbre preferences at the beginning of the study were compared to their preferences four years later. The students' timbre preferences were obtained by employing Gordon's Instrument Timbre Preference Test (ITPT). A questionnaire was also utilized at the conclusion of the study to determine which students had musical home environments and which did not. All sixth grade students enrolled in a single school district took the ITPT. Each student's scores were tallied and ranked in order to determine their timbre preferences; four years later they were retested and their scores were ranked again.
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Cairns, Robert J. "A test of selected aspects of Peter Webster's conceptual model of creative thinking in music." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ28544.pdf.

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Thomas, James Earl Jr. "Use of music learning readiness skills in the musical development of beginning instrumental music students." CSUSB ScholarWorks, 1997. https://scholarworks.lib.csusb.edu/etd-project/1336.

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Pascoe, Beverley J. "The measurement of classroom music learning using an outcomes framework in Western Australian schools." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 1999. https://ro.ecu.edu.au/theses/1233.

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This study addresses the problem of a lack of reliable and systematic methodology for evaluating progress in classroom music, using an outcomes framework, in primary and secondary schools in Western Australia. An innovative range of assessment tasks was developed for use at system, school or classroom level in order to develop a Music Achievement Scale, so that in the future, meaningful reporting of student outcomes in music, in relation to The Arts Student Outcome Statements (Education Department of Western Australia, 1996), can occur. Music tasks were tested with a representative sample of 2191 government primary school students from Years 3 (946) and 7(921), and 324 secondary students from Year 10. The tests are designed to assess student progress in relation to outcome levels rather than for specific Year levels, thus making them useful for the collection of information on student achievement between Years 3, 7 and 10. The Music Achievement Scale is composed of two parts: an Analysis test and a Process test. The Analysis test is designed to address the two 'appreciating' strands of The Arts Student Outcome Statements (Education Department of Western Australia, 1996) and the Process test is designed to address the two 'expressing' strands of the statements. The Analysis test is a pencil and paper test in which individual students respond to excerpts of taped music. The Process test is a developmental process in which students respond to a stimulus by creating a short musical composition, which is developed, rehearsed and performed in a group situation, and which includes students' critical appraisal of their performance. The tests consist of a combination of multiple choice and extended answer questions types and where possible, tasks are open-ended in order to provide the opportunity for students to perform to the maximum of their abilities. Through the use of common items and common stimulus materials, tasks allow for the linking of items through Years 3, 7 and 10, thus providing valuable information on student progression through the outcome levels. The open-ended tasks are polychotomous, allowing for the partial credit of student responses, rather than being either 'right' or 'wrong.' The tests were administered, in school classrooms that reflected students' usual learning environments, by their usual teachers of music. In primary schools this was sometimes a specialist music teacher and sometimes their usual classroom teacher. In secondary schools, the specialist music teacher administered the tests. All teachers used explicit administration instructions, which included time allocations to be apportioned for specific sections of the tests. All tests were centrally marked by experienced specialist music teachers who underwent training in marking procedures that included processes of moderation. Markers used marking keys that addressed the complexities of open-ended and polychotomous items to allocate a raw score to each student on both the Analysis and the Process test. An extended logistic model of Rasch (Andrich, 1988a) through the use of the RUMM (Andrich, Sheridan & Luo, 1996) item analysis computer program, was employed to analyse the data. The Scale has good content validity and the tasks fit the measurement model, providing further evidence of validity. Reliability of the scale is high: the Person Separation Index is 0.900 and the Item Separation Index is 0.928. The Test-of-Fit Power is 'excellent,' indicating that a valid and reliable Scale of Music Achievement has been created. Results indicate that the mean level for each year group shows a clear pattern of student development in music appreciation and music expression. Around 80 per cent of year 3 students demonstrated skills associated with level 2 outcomes in classroom music, in excess of 55 per cent of year 7 students demonstrated skills associated with level 3 outcomes, and over 80 per cent of year 10 students demonstrated skills associated with level 4 outcomes. To increase the awareness of teachers and Principals in the differential performances in music of sub-groups, a collection of data was undertaken on the performances of boys and girls, Aboriginal Torres Strait Islander (ATSI) students and non-Aboriginal students, and English speaking background and non-English speaking background (NESS) students. There were significant differences in the performances of some of these sub-groups that raise issues to be addressed in the future. The study is of importance to Western Australian teachers and schools because, for the first time, specialist and generalist teachers will have access to reliable, authentic assessment materials that reflect exemplary classroom practice, as well as an instrument that allows for the mapping of student progress on a continuum of achievement related to the outcomes framework. Reporting to parents using the method of assessment developed in this study will provide more information on students' skills and abilities than in the past. Issues related to the differential performances of sub-groups as well as issues of access and inclusivity, will be important at the system level for future developers of curriculum, as well as future developers of music assessment materials. Now that baseline data has been gathered and new methods pioneered, the way has been paved for future, improved methods of assessment in the Arts, and music in particular.
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Books on the topic "Musical ability Victoria Testing"

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Gordon, Edwin. Musical aptitude profile. Chicago, IL (8420 Bryn Mawr Ave., Chicago 60631): Riverside Pub. Co., 1988.

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2

Das Musikerleben von Kindern im Alter von fünf bis zehn Jahren: Eine Längsschnittuntersuchung als Basis für die Erforschung von abweichender Musikrezeption. Frankfurt am Main: P. Lang, 1991.

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Der Intonationstest: Seine Anfänge, seine Ziele, seine Methodik. Frankfurt am Main: P. Lang, 1996.

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Minkenberg, Hubert. Das Musikerleben von Kindern im Alter von fünf bis zehn Jahren: Eine Längsschnittuntersuchung als Basis für die Erforschung von abweichender Musikrezeption. Frankfurt am Main: P. Lang, 1991.

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Sękowski, Andrzej Edward. Osobowość a osiągnięcia artystyczne uczniów szkół muzycznych. Wrocław: Zakład Narodowy im. Ossolińskich, 1989.

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Gordon, Edwin. Predictive validity studies of IMMA and ITPT: A two-year longitudinal predictive validity study of the Instrument timbre preference test and the Intermediate measures of music audiation. Chicago, IL: G.I.A. Publications, 1989.

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Gordon, Edwin. Predictive validity studies of IMMA and ITPT: A two-year longitudinal predictive validity study of the instrument timbre preference test and the intermediate measures of music audiation. Chicago, IL: G.I.A. Publications, 1989.

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Bermúdez, Miguel Angel Perdomo, and Miguel Angel Perdomo Bermúdez. Capacidad de discriminación auditiva para las diferencias de altura de los sonidos y lateralidad auditiva: Informe de investigación. [La Habana]: Ministerio de Cultura, Centro de Investigación y Desarrollo de la Música Cubana, 1985.

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Sági, Mária. Kreativitás és zene: A generatív zenei képességek vizsgálata. Budapest: Akadémiai Kiadó, 2003.

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Willingham, Lee. Evaluating musical growth. [Toronto: s.n.], 1992.

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Book chapters on the topic "Musical ability Victoria Testing"

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Tkaczyk, Viktoria. "The Testing of a Hundred Listeners." In Testing Hearing, 49–76. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197511121.003.0003.

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In 1901, the Berlin psychologist Otto Abraham published a lengthy study on what he called “das absolute Tonbewußtsein” (absolute tone consciousness), claiming that musical ability is less a natural talent than something learnable—dependent on the imprint of certain tone systems and musical experiences. In place of simple stimulus–response tests, Abraham therefore proposed a completely new method of testing musicality, based on a comprehensive test battery and a detailed questionnaire. This chapter’s investigation of Abraham’s method highlights its underlying epistemology of hearing, with particular attention to the relationship between Abraham’s notion of musicality and his mentor Carl Stumpf’s theory of tone psychology. The chapter then traces later applications of Abraham’s study in the fields of comparative musicology and music education, focusing on testing procedures at the Berlin Phonogramm-Archiv, the Berlin Academy of Music, and, in the shape of U.S. psychologist Carl Seashore’s “measures of musical talent,” American schools and music academies.
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Camprubí, Lino, and Alexandra Hui. "Testing the Underwater Ear." In Testing Hearing, 301–26. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197511121.003.0012.

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World War II fueled technologies for underwater listening, such as hydrophones, and Cold War antisubmarine strategies further rendered the oceans audible, noisy even. This novel ability to hear marine sounds radically transformed not only the discipline of oceanography but also the oceans themselves and the people listening. An examination of U.S. Navy ear-training manuals and sound recordings reveals continuities of testing protocols and ontologies between military oceanographers and marine biologists. Underwater listeners were additionally informed by musical training and technologies such as graphic representation and image processing software. In the oceanic soundscape, marine life was defined relative to Soviet vessels and was approached through an epistemology of error: plankton stood in the way of sound waves, shrimp distorted hydrophone receptions, and whales emitted enigmatically unclassifiable sounds that questioned existing sound signature catalogs. As technologies and data were disclosed to the biologists, this knowledge about error became scientific knowledge.
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